I’m here for the first here and I’m impressed by the quality of Scandinavian Screening’s curated programme,” she said.įor her part, Rikke Ennis, CEO at REinvent Studios had identified 2-3 new series with clear international potential. M6’France's Head of Artistic Selection Ridha Barkaoui was pleased with the large number of female-driven and historical stories, targeting his core audience of women over 50, while Caroline Wendt, Head of Acquisitions and Sales from Germany’s Polyband was satisfied with the good number of “realistic stories with commercial potential. She also stressed the ability of Nordic YA drama to innovate and to portray urgent topics enabling the younger generation to be engaged, without excluding elder audience groups. His colleague Virginie Padilla Senior Acquisition Executive, Drama, underscored Arte France’s focus on social issues and human stories, and DNA close to public service-funded Nordic dramas. The overall quality was really good, but there were lots of shows and perhaps not enough time to screen them all,” said the Head of Arte Fiction’s International division. “On the other side of the spectrum, there were quite a few comedies, dealing with subjects such as sexuality, fertility and menopause. “There are still lots of dark dramas in the pure Nordic tradition, but with sub-genres or definite attempts to innovate, with new directing voices,” he said. “In Australia Nordic series used to be associated with Nordic noir, but now there aren’t that many pure crime shows, and we actually have an eye on a few projects that break from the Nordic noir,” he said.Īrte France’s Alexandre Piel felt this year’s Scandinavian Screening line up covered a wide range of genres. After the pandemic, people are asking difficult questions about society and this is reflected here,” he noted. “It's important to stress that the series are from the public service channels, therefore many of them tackle socio-political issues. Krishan Arora of SBS Australia, which just acquired the Icelandic show Blackport, also appreciated the authenticity of the YA Nordic series pitched, and meeting up with the new generation of Nordic producers. “Our audience is quite similar to the Nordic audience-it’s always good to see what works there and what’s coming from the region,” said Kampowski who praised the Finns for coming up with bold ideas and for creators of YA dramas from Sweden and Finland to tackle masculinity from an authentic male point of view. After Helsinki in 2019, Oslo was for the first time, city host of the Scandinavian Screening event, organised principally by NRK, with public broadcasting partners DR, SVT, Yle, RÚV, and the new Deichman Public Library was the perfect location to get conversations going about storytelling in the Nordics.Īfter two years of pandemic, many of the 170 international buyers and co-financiers were delighted to meet IRL again with their Nordic partners, and to witness the scripted/non-scripted environment, as vibrant as ever in the Nordics.Īmong the buzziest programmes ( see summary list below of all 32 projects) were TV2 Norway’s Escaping Bolivia, E14, NRK’ s Power Play, DR’s Nordland99, Hostage Takers, Prisoner, Carmen Curlers, TV2 Denmark’s Oxen, Yle’s Crème de la Crème, Ride Out, Hormones!, Seconds, Nelonen’s The Servant’s Saga, RUV’s Vigdís, SVT’s Brother and Discover+ Sweden’s Everyone But Us.ĭiana Schulte-Kellinghaus, head of Series Programmes and Ole Kampowski, Head of Children & Youth at Germany’s NDR (co-producers of NRK’s Power Play and Yle’s Helsinki Syndrome) were pleased to “share ideas and find out about drama trends in the region”.
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